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THE SCOTCH 
SERIES 

Together with a Showing of 
Initials, Ornaments and 
Selected Decorative 
Material 



MERGENTHALER LINOTYPE 
COMPANY 

Brooklyn, New York 













































SOME CHARACTERISTICS OF THE 
TYPE FACE KNOWN AS SCOTCH 


MONG the plain modern faces of type, Scotch 
stands in a class by itself. Its excellently pro¬ 
portioned letters and harmonious color make 
for easy reading, and, as these have been attained 
without recourse to exaggerations of any kind, 
the Scotch face still maintains its high position 
among types after about a century of uninterrupted popularity. 
Only a type designed and cut on basically sound principles could 
achieve this record. 

Scotch capitals are full and sturdy, with the lower case in 
harmony. The firm, incisive downstrokes, beautifully turned serifs 
and general crispness are all definite features that make themselves 
felt but do not obtrude. 

There seems to be some divergence of opinion regarding the 
exact origin of this face. In the De Vinne Press book of type faces 
we find that “Scotch Roman, as it is now called, was a contribution 
to novelty made for and first used by the Ballantyne Printing 
Houseof Edinburgh, in thefirstdecade of the Nineteenth Century. 
Its most striking peculiarity to,the inexpert is the greater breadth 
and openness of the letters without appearance of undue obesity. 
It has no eccentricity save the almost unnoticeable flat top to the 
lower case ‘t’.” 










Another authority, Edmund G. Gress, Editor, The American 
Printer, traces the Scotch face back to 1796, “when Mrs. Henry 
Caslon brought-out a modernized Caslon Old Style to satisfy the 
demand for modern faces that had been created by the Bodoni 
types from Italy.” 

Whether or not one sees in the Scotch face an attempt to mod¬ 
ernize Caslon Old Style, it is quite certain that the face was being 
advertised a hundred years ago by type-founders in Scotland as 
Modern Roman. Visual evidence would seem to indicate that it 
grew out of an attempt to modify the straight serifs of the Bodoni 
face, for in the period of transition there is a marked similarity 
between the two. Since the introduction of Modern Roman into 
America, when it became known as Scotch face, it has undergone 
but few changes. As cut for Linotype Typography, the traditional 
letter forms remain intact. 





THE SCOTCH SERIES 


6 Point-—2 Point Leaded 

LINOTYPE TYPOGRAPHY MAKES ONE SOUND SYSTEM OF THE 
much confused accumulation of material that confronts the printer. 
It eliminates unsparingly all that is incongruous and wrong, but 
without limiting full variety and latitude of choice by narrow canons 
of cold art. It simplifies the practice of ambitious composition, and 
as an actual part and result of that simplification, gives the Linotype 
user the material for composition of a richness attainable heretofore 
only by inordinately costly and laborious handwork. It gives the 
master printer an equipment competent to fulfill all that he can 
design, meeting every demand that can be made on type. Linotype 
Typography furnishes equipment that both guides and responds to 
design, meeting every demand that can be made on type. It simplifies 
the practice of ambitious composition, and as an actual part and 
result of that simplification, gives the Linotype user the material for 

EQUIPMENT COMPETENT TO FULFILL ALL THAT HE CAN DESIGN, MEETING 

LINOTYPE TYPOGRAPHY MAKES ONE SOUND SYSTEM OF THE 
much confused accumulation of material that confronts the printer. 
It eliminates unsparingly all that is incongruous and wrong, but 
without limiting full variety and latitude of choice by narrow canons 
of cold art. It simplifies the practice of ambitious composition, and 
as an actual part and result of that simplification, gives the Linotype 
user the material for composition of a richness attainable heretofore 


10 Point — 2 Point Leaded 


8 Point — 2 Point Leaded 

LINOTYPE TYPOGRAPHY MAKES ONE SOUND SY^S- 
tem of the much confused accumulation of material that 
confronts the printer. It elfminates unsparingly all that is 
incongruous and wrong, but without limiting full variety and 
latitude of choice by narrow canons of cold art. It simplifies 
the practice of ambitious composition, and as an actual part 
and result of that simplification, gives the Linotype user the 
material for composition of a richness attainable heretofore 
only by inordinately costly and laborious handwork. It gives 
the master printer an equipment competent to fulfill all that 

HE CAN DESIGN, MEETING EVERY DEMAND THAT CAN BE MADE ON 

LINOTYPE TYPOGRAPHY MAKES ONE SOUND SYS- 
tem of the much confused accumulation of material that 
confronts the printer. It eliminates unsparingly all that is 
incongruous and wrong, but without limiting full variety and 
latitude of choice by narrow canons of cold art. It simplifies 
the practice of ambitious composition, and as an actual part 


11 Point — 2 Point Leaded 


LINOTYPE TYPOGRAPHY MAKES ONE SOUND 
system of the much confused accumulation of material 
that confronts the printer. It eliminates unsparingly 
all that is incongruous and wrong, without limiting full 
variety and latitude of choice by narrow canons of cold 
art. It simplifies the practice of ambitious composition, 
and as an actual part and result of that simplification, 
gives the Linoti^pe user the material for composition of 

A RICHNESS ATTAINABLE HERETOFORE ONLY BY INORDI 

LINOTYPE TYPOGRAPHY MAKES ONE SOUND 
system of the much confused accumulation of material 
that confronts the printer. It eliminates unsparingly 
all that is incongruous and wrong, without limiting full 
variety and latitude of choice by narrow canons of cold 


12 Point — 2 Point Leaded 

LINOTYPE T YPOGRAPHY MAKES 
one sound system of the mueh confused 
accumulation of material that confronts the 
printer. It eliminates unsparingly all that is 
incongruous and wrong, but without limiting 
full variety and latitude of choice hy narrow 
canons of cold art. It simplifies the practice 
of ambitious composition, and as an actual 
part and result of that simplification, gives 

THE LINOTY^PE USER THE MATERIAL FOR COM 

LINOTYPE TYPOGRAPHY MAKES 

one sound system of the much confused 
accumulation of material that confronts the 
printer. It eliminates unsparingly all that is 


LINOTYPE TY^POGRAPHY MAKES ONE 
sound system of the much confused accumulation of 
material that confronts the printer. It eliminates 
unsparingly all that is incongruous and wrong, but 
without limiting full variety and latitude of choice 
by narrow canons of cold art. It simplifies the prac¬ 
tice of ambitious comjiosition, and as an actual part 
AND RESULT OF THAT SIMPLIFICATION, GIVES THE 

LINOTYPE TYPOGRAPHY MAKES ONE 
sound system of the much confused accumulation of 
material that confronts the printer. It eliminates 
unsparingly all that is incongruous and wrong, hut 
xvithout limiting ftdl variety and latitude of choice 

14 Point—2 Point Leaded 

LINOTYPE TYPOGRAPHY 

makes one sound system of the mueh 
confused accumulation of material 
that confronts the printer. It elimi¬ 
nates unsparingly all that is incongru¬ 
ous and wrong, but without limiting 
full variety and latitude of choice by 
narrow canons of cold art. It simplifies 

THE PRACTICE OF AMBITIOUS COMPOSITION 

LINOTYPE TYPOGRAPHY 

makes one sound system of the much 
confused accumulation of material 














THE SCOTCH SERIES 


LINOTYPE TYPOGRAPHY MAKES ONE SOUND 
system of the mueh confused accumulation of material that con¬ 
fronts the printer. It eliminates unsparingly all that is incongruous 
and wrong, hut without limiting full variety and latitude of choice 
by narrow canons of cold art. It simplifies the practice of ambitious 
composition, and as an actual part and result of that simplification, 
gives the Linotype user the material for composition of a richness 

18 Point Italic —2 Point Leaded 

LINOTYPE TYPOGRAPHY MAKES ONE SOUND 

system of the much confused accumulation of material that con¬ 
fronts the printer. It eliminates all that is incongruous and wrong, 
but without limiting full variety and latitude of choice by narrow 


LINOTYPE TYPOGRAPHY MAKES ONE 
sound system of the much confused accumulation 
of material that confronts the printer. It elimi¬ 
nates unsparingly all that is incongruous and 
wrong, but without limiting full variety of choice 
by narrow canons of cold art. It simplifies the 

30 Point —2 Point Leaded 

LINOTYPE TYPOGRAPHY r^akes 
one sound system of the much confused 
accumulation of material that confronts 
the printer. It eliminates unsparingly all 
that is incongruous and wrong, but with¬ 
out limiting full variety and latitude of 













The Initial, Ornament and Border Electrotypes shown on this and the following 
23age are exclusive designs, specially created for the JNIergenthaler Linotype Com¬ 
pany for use with the Scotch Series and other Modern Faces whose weight of color 
and other general characteristics are similar. The point sizes given are approximate. 



132 Point Initial—A to Z: One Color, Metal Base, X-1382; Wood Base, X-1383; Unmounted, X-1384 
Second Color, Metal Base, X-1385; Wood Base, X-138G; Unmounted, X-1387 




Rules and Borders for Use with the Scotch Face 


STANDARD RULE BORDERS 

Appropriate with Scotch Face 



2 Point Matrix Slide No. 401 
2 Point Matrix Slide No. 403 
2 Point Matrix Slide No. 405 
4 Point Matrix Slide No. 503 
G Point Matrix Slide No. 508 
G Point Matrix Slide No. 516 
8 Point Matrix Slide No. 736 
12 Point Matrix Slide No. 538 


SIMPLE DECORATIVE BORDERS 

Appropriate with Scotch Face 


iiiiiiiiiiniiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 



3 Point Matrix Slide No. 1681 

4 Point Matrix Slide No. 1403 

4 Point Matrix Slide No. 1708 

5 Point Matrix Slide No. 258 

6 Point Matrix Slide No. 256 
8 Point Matrix Slide No. 1371 

10 Point Matrix Slide No. 1654 


IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM 12 Point Matrix Slide No. 1678 








SYz Point Matrix Slide No. 1509 
6 Point Matrix Slide No. 1517 
6 Point Matrix Slide No. 1520 
6 Point Matrix Slide No. 1616 
12 Point Matrix Slide No. 1518 
12 Point Border Matrices No. 1064 
12 Point Border Matrices No. lOGOYi 
12 Point Border Matrices No. 10601/^ 



12 Point Border Matrices No. 1060d 
12 Point Border Matrices No. 1060e 
12 Point Border Matrices No. 1060/ 
12 Point Border Matrices No. 1060(/ 
12 Point Border Matrices No. 1060/j 
12 Point Border Matrices No. lOGOi 
12 Point Border Matrices No. 1060j 
12 Point Matrix Slide No. 1490 


SCOTCH BORDERS 

For use with Scotch and other Modern Faces 









































































































































The Complete Alphabet of IniUals is obtainable in either of the sizes shown on this 
and the preceding page, and special sizes of the Initials, Ornaments or Border can be 
furnished when they are specially ordered. For both the 132 Point and 72 Point 
Initials a second-color electro is available. 





72 Point Initial—A to Z: 


: Unmounted, X-1389. Second Color, Metal Base, X-1390; Unmounted, X-1391 



Ornament, 714x514 picas 
Metal Base, Mortised, X-139<) 
Unmounted. Unmortised, 
X-1307 



Headband, 18x6 picas: Wood Base, X-1392; Unmounted, X-1393, 
Aiso made larger size, 21x7 picas: Wood Base, X-1394: 
Unmounted, X-1395 



Ornament, 11x5 picas 
Wood Base, X-13nH 
Unmounted, X-1399 



Complete Page Panel—Outside, 5114x69 picas; Mortise. 40x53 picas; Wood Base, Mortised,-X-l400; Unmounted, Unmortised, X-1401 











































































































































































































































































AGENCIES 

And the Territory Covered by Each 


Customers located in the territory covered by the New York Agency should send 
their orders direct to the Service Department, INIergenthaler Linotype Company, 
corner Park Avenue and Ryerson Street, Brooklyn, N. Y. A complete stock of 
matrices is carried at each of our Agencies. Customers in States outside of New 
York Agency territory should send their orders direct to the Agency in whose 
territory they are located. 


FACTORY 

Park Avenue and Ryerson Street, Brooklyn, A. T. 


Connecticut 

Delaware 

Dist. of Columbia 

Maine 

Maryland 

Massachusetts 

New Hampshire 

New Jersey 

New York 

North Carolina 
Pennsylvania 

Rhode Island 

Vermont 

Virginia 

West Virginia 

Colorado 

Iowa 

CHICAGO 

1100 South Wabash Avenue 
Michigan 

Nebraska 

South Dakota 

Illinois 

Kansas 

Minnesota 

North Dakota 

Wisconsin 

Indiana 

Kentucky 

Missouri 

Ohio 

Wyoming 

Alaska 

California 

SAN FRANCISCO 

646 Sacramento Street 

Idaho 

Nevada 

Utah 

Arizona 

Hawaiian Islands 

Montana 

Oregon 

Washington 

A branch oflBce of Canadian Linotype Limited, covering British Columbia, is located at the San Francisco Agency 

Alabama 

Florida 

NEW ORLEANS 

549 Baronne Street 

Louisiana 

New IMexico 

South Carolina 

Arkansas 

Georgia 

Mississippi 

Oklahoma 

Tennessee 


Texas 


TORONTO, ONT., CANADA 
Canadian Linotype Limited, 119 Adelaide Street, West 
Covers Dominion of Canada (except British Columbia) and Newfoundland 
British Columbia is covered by Canadian Linotype Limited, 646 Sacramento Street, San Francisco, Cal. 


FOREIGN AGENCIES 

_ I^tnotype and Machinery, Limited, London, England 

t U X • Covers Southern Europe, Africa and the Far East 

Agencies are also maintained in the principal cities of the entire world 































































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